Rock is not, and has never been, dead. It has just come to look— or sound — completely different than what we’ve become familiar with through equated characterizations of more classic era rockstars. But how could we expect stagnation from a genre founded on rebellion and innovation? As Latine music emerges at the forefront of the global scene, it would be a mistake to overlook rock’s significant role in its evolution and popularity.
With sub-styles that stem from a core of riotous sounds, the current moment riddled with political and socio-economic affairs across the globe creates a ripe moment of attention towards rock and its ever-evolving by-product sounds bursting with creativity that redefines genres and pushes boundaries. The last year has seen vanguard resurgences, an expanding underground making its way to main stages, and growing space for the inclusion of more women and queer representation.
To no surprise, the representation has become kaleidoscopic. Domestically, we saw rising artists like The Red Pears and Latin Mafia make a mark at festivals like Coachella, while The Warning showcased their talent at the VMAs. We also witnessed more established artists embracing their Latinidad like The Linda Lindas creating more Spanish language music, Deftones and The Mars Volta joining headlining forces, and Metallica covering Los Tucanes de Tijuana.
In Brazil, an emerging era of favela-based rock scene has begun to gain major traction, finding itself at the intersection of cultures where the thumping sounds of baile funk mixed with the globalized streaming sounds to the likes of System of a Down. In Argentina, rising acts like Fin Del Mundo are redefining shoegaze and dream pop with an all-female lineup, offering fresh perspectives for a new generation. In Puerto Rico, we saw reggaeton megastar Young Miko join Rage Against the Machine’s Tom Morello on a track that highlights the genre’s cross-pollination.
What once posed serious risks for Latine artists is now a thriving landscape of diverse, experimental, and liberating sounds, spanning from alternative indie to bedroom pop to metal and beyond. Given the growing number of acts to date, there’s no plan for its expansion to stop anytime soon. Given the releases of the year alone, we’re very thankful for that and already looking forward to what’s to come.
Check out 10 of 2024’s best indie and alt-rock releases below. – Jeanette Diaz
1
Çantamarta - “Pasarela”
Çantamarta is a success story right out of the movies. In 2017, Spanish music producers Benito Casado and Omar Molina went out for a stroll in their hometown of Granada and caught a young Venezuelan-Colombian busker, Luis Lozano, performing in the park, striking up a conversation and eventually starting a band. This year, their exciting blends of pop, folk instrumentation, and Caribbean panache culminated in the prismatic LP Pasarela, where the title track emerged as a triumphant burst of color and diasporic resilience. “Tengo muchos panas, pero pocos amigos,” Luislo sings cheerfully on the hook, existing somewhere between immigrant hopefulness and mocking the fake smiles that greet him daily on the street. But while he also takes shots at military surveillance and code-switching, the song is ultimately a celebration of those who rise above, accompanied by an ebullient music video complete with intricately choreographed set pieces and a rainbow of skin tones, hair textures, and experiences. – Richard Villegas
Credits
Written by: Benito Casado Muñoz, Luis Ángel Lozano Acosta, and Omar Roldán Molina
Produced by: Çantamarta and Roberto Zulo
Video directed by: Lena Zafra and Adri Sola
Record Label: Rimas Music
2
Luisa Almaguer - “Un día nos vamos a morir”
At this year’s Bahidorá festival in Mexico, Luisa Almaguer stood out from an all-star ensemble of master musicians by singing an emotionally-charged version of Gorillaz’s “On Melancholy Hill” with the song’s author, Damon Alborn, right there onstage with her, but that’s her power as a vocalist. This quality was also on full display on 2024’s Weyes, one of the best albums to come out of the Mexican music landscape in any genre, and “Un día nos vamos a morir” was one of the clear highlights. Displaying a remarkable range of sounds and emotions, “Un día…” revisits her slow-burning torch song mode, with her deep voice indulging in sorrow, pain, and regret before it picks up the tempo and gets to serious rocking business. Sonically, the shift works to lift the mood, but Almaguer doubles down on her feelings, howling and yelling as we seldom had heard her before, leaving the listener an emotional wreck. Reaching a new plateau, Almaguer reaffirms her place as a trailblazer and an accomplished artist. — Marcos Hassan
Credits
Written by: Luisa Almaguer
Produced by: Santiago Mijares
Video directed by: Rodrigo Rodríguez
Record Label: 2024 Mixta Music
3
The Linda Lindas - "Yo Me Estreso (feat. "Weird Al" Yankovic)"
Latine-Asian rock band The Linda Lindas released their second Spanish-language song “Yo Me Estreso” featuring “Weird Al” Yankovic on the accordion. The song was inspired by corridos tumbados, banda, and Duranguense – which the band reflects by incorporating a melodic trumpet and tuba – coated with the band’s signature punk rock elements such as an electronic guitar and rhythmic drum pattern. With an echoing and dramatic spoken bridge, the innovating quartet adds an extra touch to the track’s waltz-like cadence, making it a standout from their recent album No Obligation. Like The Warning, The Linda Lindas is also making waves by peppering in Spanish-language gems in the mainstream rock realm, showcasing what Latine rockeras have to offer. – Jeanette Hernandez
Credits
Written by: Bela Salazar, Lucia de la Garza, Mila de la Garza, and Eloise Wong
Produced by: Carlos de la Garza
Video directed by: Jennifer Juniper Stratford
Record Label: Epitaph
4
Depresión Sonora - “Nada Importa”
After dropping a collection of singles this year and compiling it into his latest EP MAKINAVAJA, Marcos Crespo, the mastermind behind Depresión Sonora, continues to carve his path in the post-punk Spanish rock space. Upon entering the scene with his recognizable brand of hopeful pessimism, Crespo has impacted audiences on each side of the Atlantic through his ability to express and mirror the anxieties, fatigue, and forced hyper-productivity of his generation. “Nada Importa” reflects these feelings not only in title, but Crespo spends the entire track listing the minutia of a regular day and the small positives and negatives within it, only to conclude that none of it matters. The track opens with a light drum and bass beat that flutters inconspicuously throughout the track while keys and synths coupled with ghostly background vocal effects add the haunting quality that Depresión Sonora is known for. “Nada Importa” is cathartic, sonically sumptuous, and metaphorically reflective of life as the rat on the wheel and the indifference that comes with being part of the larger societal productivity machine. Within the track lives the verse “te prometo que me voy a curar,” which glimmers with hope in an otherwise monotonously cynical acceptance of reality. Depresión Sonora’s emotionally troubled sound is cathartic and resonates globally with a generation that can closely relate. – Rosy Alvarez
Credits
Written by: Marcos Crespo
Produced by: Marcos Crespo, Harto Rodríguez, and Diego Escriche
Video Directed by: Max Lusson
Record Label: Sonido Muchacho
5
Dillom - “Buenos Tiempos”
“Buenos Tiempos” nodding to Kanye West in 2024 says all you need to know about Dillom: he does not shy away from controversy (the track features a sample of Super Beagle’s “Dust a Sound Boy,” famously used in West’s “Mercy”). Blending high-energy rock with hip-hop à la Beastie Boys, “Buenos Tiempos” drips with irony — while the song title (which translates as “Good Times”) suggests nostalgia, the scenes Dillom paints reflect anything but that. Instead, the disturbing lyrics show Dillom allowing himself to explore “mi más oscura fantasía” (“my darkest fantasy”) relating to sex and drugs, but in a numb way rather than a lively one. Among polemic word plays — such as one that compares mental disorder to an orgy — one stands out in the chorus. The line “El día que muera, moriré en mi ley” (“The day I die, I’ll die by my own rules” also sounds as “The day I die, Milei dies”) resonates both as a bold personal statement and a critique of Argentina’s president Javier Milei. — Ana Clara Ribeiro
Credits
Written by: Dylan Leon Masa, Fermín Ugarte, Iván Cetkovich Bakmas, Juan Gabriel Lopez, Luis Tomás La Madrid, and Manuel Montenegro
Produced by: FERMIN and LAMADRID
Video Directed by: Noduermo
Record Label: Bohemian Groove
6
Latin Mafia - “Siento Que Merezco Más”
Latin Mafia is one of the biggest breakthrough groups of the year. After conquering arenas across Mexico last year, the trio of brothers spent 2024 playing music festivals like Coachella, Lollapalooza Chile, and Lollapalooza Argentina. Milton, Emilio, and Mike de la Rosa signed with Rimas Entertainment this year to release their debut album Todos Los Días Todo El Día. Latin Mafia pushed its signature genre-bending sound to new places, especially in the hypnotic “Siento Que Merezco Más,” where the band’s emotional lyricism collides with elements of flamenco, rock, and EDM music. Latin Mafia is bringing an alternative edge and limitless vision to the mexa music scene. — Lucas Villa
Credits
Written by: Emilio de la Rosa Marroquín, Miguel Ángel de la Rosa Marroquin, and Milton de la Rosa Marroquín
Produced by: Miguel Ángel de la Rosa Marroquín
Video Directed by: STILLZ
Record Label: Rimas Music
7
Solo Fernández - “EL RESPLANDOR $$$”
Dominican band Solo Fernández showed us just how permeable their brand of indie rock may be on their 2024 full-length LAS COSAS QUE NUNCA ME DIJE. Sitting in the middle of its tracklist is “EL RESPLANDOR $$$,” where they filter ‘80s rock sounds through the contemporary lens of the likes of The War on Drugs or Kurt Vile. This is a lesson in elegant restraint, with intricate guitarwork and a fast-paced rhythm presented in a way that never sounds complicated or overworked and vocals that add to their natural cool. Scratch the surface, and you’ll find the band taking shots at the Capitalist dream, daring to live a different life beyond greed. “EL RESPLANDOR $$$” really is Solo Fernández’s most dazzling moment on their album. – Cheky
Credits
Written by: Giancarlo Rojas Rodriguez, Freddy Nuñez Navarro, and Ricardo Montilla Rivera
Produced by: Gian Rojas, Freddy Navarro, Ricardo Montilla, and JV Olivier
Video Directed by: Solo Fernández, Guillermo De Lemos, and Armando Rojas
Record Label: Solo Fernández
8
pablopablo, Guitarricadelafuente - “Sidekick”
It was pretty much a given that when two of the biggest emerging acts in Spain’s thriving singer-songwriter scene announced that they had linked up for a collaboration, the end result would be something remarkable. Sweet-as-honey falsettos, bright marimbas, and soft acoustic guitars lie at the center of the poetic “Sidekick,” as Madrid-based artist pablopablo and Zaragoza’s resident folk rock charmer Guitarricadelafuente go out on a drive after dark and take in each and every sight swathed in that magical nighttime glow that makes you feel like you’re living in a poem (“Te duermes/Y los focos de los municipales/parecen una luna azul/Se enciende/El capó en fuegos artificiales/parecen luces de un hotel”). — Nayeli Portillo
Credits
Written by: Pablo Drexler and Álvaro Lafuente Calvo
Produced by: pablopablo
Video Directed by: Leila Rodriguez
Record Label: pablopablo
9
Yungatita - “Descenda”
The year 2024 can best be described as the true arrival of Yungatita. Indie rock-bedroom pop artist, graphic designer, and indie sleaze connoisseur Valentina Zapata is the brainchild of Yungatita, an artist grounded in a genuine love for performing music with their friends and the Los Angeles music scene. Yungatita has been in the game for over a decade, bearing witness to different trends and the changing tide of the culture. But after building traction within the last four years, their debut album Shoelaces & A Knott was met with critical and social acclaim, marking a turning point in their career. The stand-out track “Descenda” is Yungatita’s love for the game and experience incarnate. Made up of wonky, distorted guitar riffs and thumping screeches in the chorus, “Descenda” captures everything that gives their debut album so much character. It’s a song written and performed with their closest friends, and the chemistry among the bandmates bleeds seamlessly. It’s a relentless energy that keeps the momentum going with every bridge that shifts gears for an experience that makes you wish you could hear it live from the pit. – Alan Baez
Credits
Written by: Ernie Gutiérrez and Valentina Zapata
Produced by: Valentina Zapata
Record Label: Yungatita
10
BALTHVS - "Mango Season"
Captivating audiences through their grooving, atmospheric blend of psychedelic, funk, and soulful inspiration, BALTHVS entered 2024 with the release of the single “Mango Season.” A serene-leaning, tropical instrumental escape inspired by the luscious scenery and wildlife surrounding them when the track and subsequent album Harvest were recorded, “Mango Season” perfectly captures the essence of why the trio has continued to amass an ever-growing audience. The loss of lyricism, in their case, never takes away from the music but rather adds an attentiveness to the composition of swooning bass lines, sliding guitars, and eased percussion while allowing listeners to add a bit of themselves into the musical interpretation. The music, in turn, becomes incredibly intimate, allowing for a euphoric refuge of feel-good energy while being consumed by every note of a globalized sound. – Jeanette Diaz
Credits
Written by: Balthazar Aguirres Colmenares, Johanna Mercuriana Niño, and Santiago Lizcano Rojas
Produced by: BALTHVS
Record Label: Mixto Records
